Take the Money & Run

15 06 2010

Week Two brought the lovely Take the Money and Run into the studio. With a little extra time to prepare this time, I found a better location for this weeks shoot. The room was darkened (with blinds brought down) and then the lights were set up. The aperture was set to f/4 and the ISO was at it’s lowest at 200. This made the scene practically black-dark. The first light added was for detail. In retrospect, it probably could have been utilized better, but at the time it was cool.┬áBehind the guys is one SB-S00 firing wirelessly – you can see the detail it adds to the edge of the plaid shirt, there.

By now this was the scene:

The  second flash, another wirelessly remoted SB-600 was brought in camera left, behind a shoot-thru umbrella at about 1/4 power.

Lastly is the studio shot. Two flashes again – one on-board bouncing off the ceiling, the other under the table shooting against the wall to kill any shadows (created by the window behind me). The odd angle was an accident created… well I’m not sure what I pressed, but I likes it. Little bit different, eh?

Stay tuned for a link to the show itself featuring the interview!





State’s Love:Live Music – Special Guest: Kyp Malone

17 04 2010

Kyp Malone, live at the Mercantile Bar

I adore Tv on the Radio, (along with every other bearded music-lover) so it was nothing more than phenomenal that I got to witness this bearded crooner/guitarist live in the small setting on the Mercantile Bar. Stranded on the last night of the tour because of a volcano in Iceland, Kyp decided to tag along to State’s first Love:Live Music session, which also played host to Take the Money and Run, The Cast of Cheers and headliners, Super Extra Bonus Party. (click here for full photo set)

But as fantastically impressive as they each were, Kyp was my highlight. Grumpy and alone, he twanged at his guitar, plecless through four numbers from his current side-project, Rain Machine. Opener ‘Give Blood’ was a durty groove, stripped of it’s backing vocals, drum-beats and bassline, it was almost unrecognisable from the original. ‘Smiling Black Faces’ was also briefly aired and mumbled through and ‘New Last Name’ was probably the most true to the original. But to be honest he could have played ‘Netti Fritti’ on his own and I still would have lapped it up.

Christ, with a beard like that he could’ve just stood there. Isn’t that right, y’happy bastard?